Roderigo played by Peter Hobday
Written by: William Shakespeare
Peter trained at Royal Central School of Speech and Drama.
Previous theatre includes: Rudolf (West Yorkshire Playhouse); The Little Gardener (Tour/How It Ended); Cleansed, An Oak Tree (National Theatre); The Boy Who Never Grew Up (Lyric Hammersmith); A Midsummer Night’s Dream, The Snow Queen (The Dot Collective); Written On Skin (Lincoln Center NYC); The Way Back Home, The Cherry Orchard (Young Vic), and Say It With Flowers (Hampstead Theatre).
Film includes: Roses in Winter.
Television includes: Episodes and The Mimic.
"I've said it so many times on these interviews, the cast are brilliant! I will definitely take away that Saturday where I did Iago here...And I think that proved to me that sometimes you can just enjoy the ride of being completely supported and carried by an amazing team..."
As Peter prepares for the final performance, he reflects on his favourite moments from the run.
"It’s really funny the audience reaction to Iago at the end. They really wanted to see him be tortured at the end. And I think that says more about that individual, about the people watching it. They’ve watched this horrific play and they want more..."
Exploring the themes of Ellen McDougall's production, Peter discusses violence and voyeurism.
"Iago's viciousness or his weapon is his mouth, his words. And at that particular point in the show, words can’t save him. He’s desperate, so has to put a lot of effort into the death of his wife...it’s so audible. Collective horror."
Understudying Iago during the run, Peter reflects on the two times he played Iago, and the character's violence both in words and deeds.
"I think Roderigo has a real battle with masculinity in this production and Othello in general. Being told, ‘Come, be a man, be a man'. I think that’s what he learns. He’s told it at the beginning, but I think he learns it at the end..."
With one month of performances left, Peter reflects on what Roderigo learns in the play, and what he too has learned.
"I think Iago would see himself as someone who potentially has nothing to lose and everything to gain. He says, 'I have looked upon the world for four times seven years and I never knew a man who knew how to love himself'. And I think that is true...it’s all sparked from hatred, self-hatred I think.
Playing no less than three roles in the play, Peter talks us through the different tracks for each character, the understudying process, and what he (and Iago) think of this character.
"What’s the point of live theatre if it can’t shift or mould? I also think atmosphere in theatres is so variant and every night we’re playing with that. And this company is so responsive and alive too!"
As performances continue, Peter looks back on leaving the rehearsal room, bringing the show onto the stage, and how the audience and company are reacting.
"I think what we are doing is we are making a comment on how relevant this play is today. Unfortunately, I think we are in a world full of deception and I think that we're making a comment on that."
With performances a few weeks away, Peter talks us through the rehearsal process, performing in candlelight, and the relevance of Othello today.
"I think Iago is Roderigo's only friend. I don't think personally Roderigo has spoken to Desdemona. The relationship is suggested through Iago, and I don't think Desdemona quite knows Roderigo exists..."
With rehearsals underway for Othello, Peter tells us about fight calls, violence in the play, and his initial impressions of his character Roderigo.